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Girl in Hyacinth Blue
A professor invites a colleague from the art department to his home to view a painting he has kept secret for decades in Susan Vreeland's powerful historical novel, Girl in Hyacinth Blue. The professor swears it's a Vermeer -- but why exactly has he kept it hidden so long? The reasons unfold in a gripping sequence of stories that trace ownership of the work back to Amsterdam during World War II and still further to the moment of the painting's inception.
242 pages, Paperback
First published January 1, 1999
About the author
Susan Vreeland
15 books1,077 followersSusan Vreeland was an internationally renowned best-selling author and four-time winner of the Theodor Geisel Award for Fiction, the San Diego Book Award’s highest honor. She wrote historical fiction on art-related themes, and her books have been translated into 26 languages.
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Displaying 1 - 30 of 2,190 reviews
August 2, 2018
”She thought of all the people in all the paintings she had seen that day, not just Father’s, in all the paintings of the world, in fact. Their eyes, the particular turn of a head, their loneliness or suffering or grief was borrowed by an artist to be seen by other people throughout the years who would never see them face to face. People who would be that close to her, she thought, a matter of a few arms’ lengths, looking, looking, and they would never know her.”
Johannes Vermeer self-portrait cropped from his painting The Procuress (1656).
Johannes Vermeer or Van Der Meer was a 17th century Dutch painter who had a modestly successful career. He would have been more successful, made more money, enjoyed a certain level of comfort if only…
he would paint faster.
He did not paint until the mood struck him, commissions were bothersome, rarely of interest. His life was about light and how to capture that light perfectly for all eternity in the pigment of his paint. I’ve had the pleasure of meeting a few of his paintings in museums across Europe. Every time I’m struck by each and every poetic brush stroke he made to the luminosity of natural light seemingly only to be able to be perceived by the eye of Vermeer in the city of Delft.
He traded paintings for food, for shoes for his children, for debts that accumulated as he pondered the subject for his next painting.
The Concert by Vermeer...absconded with.
There are sixty-six potential Vermeer’s in the world, but only thirty-four are universally recognized as accredited Johannes Vermeer paintings. In 1990 The Concert was stolen from a museum in Boston and has never been recovered. Valued in the neighborhood of $200,000,000 it is the most valuable unrecovered painting in history. We can hope that it landed in the hands of a collector, who is selfishly hoarding it hopefully in a climate controlled environment. Someday the collector will die and the painting will reemerge.
We can hope.
The Astronomer was seized by the Nazis in 1940 from the de Rothschild’s family. It was returned to the family after the war, but was given to the French government in payment for back taxes in 1983. It now hangs in the Louvre. On the back of the painting there is a black ink Swastika.
This brings me to the subject of this book. Susan Vreeland begins by introducing us to Cornelius Engelbrecht who has decided to reveal after many years of hiding the existence of the painting, a Vermeer, to his friend and art lover Richard.
It can’t be...it can’t be a Vermeer.
There are numerous problems in regards to this painting. Provenance, that all important paperwork establishing authenticity, has been lost or separated from the work. The other major problem is how Cornelius’s father obtained possession of the work. Germany, 1940s, opportunities abounded for artwork and other precious things of value to fall into the hands of the less than scrupulous. There are still families trying to get back artwork that was confiscated by the Germans or stolen by opportunists and sold to collectors/museums all over the world.
”Look. Look at her eye. Like a Pearl.”
The Girl in Hyacinth Blue painted by Jonathan Janson
So what is this painting? It is of Magdalena Vermeer, daughter of the painter. The one most like him. The one with sewing shoved into her hands when her fingers ached for the brushes.
”She loved him, loved what he did with that hand, and even, she suspected, loved what he loved, though they had never spoken of it. When that thought lifted her face to his, she saw his cheeks grow softer, as if he noticed her in the house for the first time.”
It was hard for anyone to get his attention, especially a young girl who was loved most when not disruptive to his brooding thoughts.
Vreeland begins the book with Cornelius and then steadily takes us back in time with the painting. The people that swirl around the painting are brought to life and the influence of having something so beautiful gracing their lives shows the greedy need we all have to possess something so alluring. One of my favorite stories is of a poor family trying to save their farm from a flood and in the midst of this conflict a baby is laid in their boat along with the painting with instructions to sell the artwork to feed the baby. The painting becomes a source of tension between the husband and wife. The wife doing anything she can to keep it. The husband, thinking of the winters to come, knows the money from selling it will allow him to expand his breeding stock which will better insure the family's long term survival. The wife becomes rebellious, but her mother sets her straight.
”Work is love made plain, whether man’s or woman’s work, and you’re a fool if you can’t recognize it. The child’s the blessing, Saskia, not the painting.”
When she does finally sell the painting I could feel the pain of the loss as acutely as does Saskia. There is nothing she will ever be able to buy for the rest of her life that will replace the vibrancy of a Vermeer painting. She does leave her mark on the painting because she names it and she passes that name to the buyer.
Morningshine.
In the later chapters we even meet Vermeer as he struggles with creditors and subjects for art that will inspire him to lift his brush. We meet the mutinous Magdalena as she struggles against the forces trying to make her learn the skills that will make her a valuable housewife. How can you mend when you must create? In the final chapter we see her meeting her painting once again. She borrows every scrap of money she can to try and buy it when it comes up for auction, but paintings like that aren’t supposed to be owned by normal people, not even a person who has the blood of the painter cycling through her own heart.
It is always so ironic to think of painters giving away paintings for a loaf of bread and a few decades/centuries later those same works of art becoming worth inconceivable amounts of money.
The book gets better and better as we walk back through history with Vreeland. The later chapters are stellar, poignant, and captivating. They lift the book from a three star to a four star. The author put me in the same room as Vermeer, so much so I could almost see the light the way he saw it.
Girl Reading a Letter at an Open Window by Vermeer.
Johannes Vermeer self-portrait cropped from his painting The Procuress (1656).
Johannes Vermeer or Van Der Meer was a 17th century Dutch painter who had a modestly successful career. He would have been more successful, made more money, enjoyed a certain level of comfort if only…
he would paint faster.
He did not paint until the mood struck him, commissions were bothersome, rarely of interest. His life was about light and how to capture that light perfectly for all eternity in the pigment of his paint. I’ve had the pleasure of meeting a few of his paintings in museums across Europe. Every time I’m struck by each and every poetic brush stroke he made to the luminosity of natural light seemingly only to be able to be perceived by the eye of Vermeer in the city of Delft.
He traded paintings for food, for shoes for his children, for debts that accumulated as he pondered the subject for his next painting.
The Concert by Vermeer...absconded with.
There are sixty-six potential Vermeer’s in the world, but only thirty-four are universally recognized as accredited Johannes Vermeer paintings. In 1990 The Concert was stolen from a museum in Boston and has never been recovered. Valued in the neighborhood of $200,000,000 it is the most valuable unrecovered painting in history. We can hope that it landed in the hands of a collector, who is selfishly hoarding it hopefully in a climate controlled environment. Someday the collector will die and the painting will reemerge.
We can hope.
The Astronomer was seized by the Nazis in 1940 from the de Rothschild’s family. It was returned to the family after the war, but was given to the French government in payment for back taxes in 1983. It now hangs in the Louvre. On the back of the painting there is a black ink Swastika.
This brings me to the subject of this book. Susan Vreeland begins by introducing us to Cornelius Engelbrecht who has decided to reveal after many years of hiding the existence of the painting, a Vermeer, to his friend and art lover Richard.
It can’t be...it can’t be a Vermeer.
There are numerous problems in regards to this painting. Provenance, that all important paperwork establishing authenticity, has been lost or separated from the work. The other major problem is how Cornelius’s father obtained possession of the work. Germany, 1940s, opportunities abounded for artwork and other precious things of value to fall into the hands of the less than scrupulous. There are still families trying to get back artwork that was confiscated by the Germans or stolen by opportunists and sold to collectors/museums all over the world.
”Look. Look at her eye. Like a Pearl.”
The Girl in Hyacinth Blue painted by Jonathan Janson
So what is this painting? It is of Magdalena Vermeer, daughter of the painter. The one most like him. The one with sewing shoved into her hands when her fingers ached for the brushes.
”She loved him, loved what he did with that hand, and even, she suspected, loved what he loved, though they had never spoken of it. When that thought lifted her face to his, she saw his cheeks grow softer, as if he noticed her in the house for the first time.”
It was hard for anyone to get his attention, especially a young girl who was loved most when not disruptive to his brooding thoughts.
Vreeland begins the book with Cornelius and then steadily takes us back in time with the painting. The people that swirl around the painting are brought to life and the influence of having something so beautiful gracing their lives shows the greedy need we all have to possess something so alluring. One of my favorite stories is of a poor family trying to save their farm from a flood and in the midst of this conflict a baby is laid in their boat along with the painting with instructions to sell the artwork to feed the baby. The painting becomes a source of tension between the husband and wife. The wife doing anything she can to keep it. The husband, thinking of the winters to come, knows the money from selling it will allow him to expand his breeding stock which will better insure the family's long term survival. The wife becomes rebellious, but her mother sets her straight.
”Work is love made plain, whether man’s or woman’s work, and you’re a fool if you can’t recognize it. The child’s the blessing, Saskia, not the painting.”
When she does finally sell the painting I could feel the pain of the loss as acutely as does Saskia. There is nothing she will ever be able to buy for the rest of her life that will replace the vibrancy of a Vermeer painting. She does leave her mark on the painting because she names it and she passes that name to the buyer.
Morningshine.
In the later chapters we even meet Vermeer as he struggles with creditors and subjects for art that will inspire him to lift his brush. We meet the mutinous Magdalena as she struggles against the forces trying to make her learn the skills that will make her a valuable housewife. How can you mend when you must create? In the final chapter we see her meeting her painting once again. She borrows every scrap of money she can to try and buy it when it comes up for auction, but paintings like that aren’t supposed to be owned by normal people, not even a person who has the blood of the painter cycling through her own heart.
It is always so ironic to think of painters giving away paintings for a loaf of bread and a few decades/centuries later those same works of art becoming worth inconceivable amounts of money.
The book gets better and better as we walk back through history with Vreeland. The later chapters are stellar, poignant, and captivating. They lift the book from a three star to a four star. The author put me in the same room as Vermeer, so much so I could almost see the light the way he saw it.
Girl Reading a Letter at an Open Window by Vermeer.
August 7, 2017
Art lovers will probably enjoy this book. Historical fiction, art and art history, good writing, combined for a good read. I've read several of her books and this may be my favorite. I would compare it to Tracy Chevalier's Girl with a Pearl Earring.
December 7, 2022
“Girl in Hyacinth Blue'' is the eponymous fictional Vermeer painting Susan Vreeland creates for her second novel. Told as short stories, the novel traces the provenance of the painting in reverse chronological order from the 1990's U.S. to it's painting by Vermeer in the 17th century Netherlands. Each chapter paints a picture for me of the life of the person in whose hands the painting rests and the impact it has on his or her life.
Vreeland deftly and quickly captures her characters and their relationships. Despite their brief appearances I feel like I know them and can relate to them.
A loving middle-aged couple, so tender and caring with each other:
“The winsome lilt of Digna humming in the garden. Her knowing, almost teasing look, not quite a smile, when she knew she had the upper hand about something, and his willing acquiescence. Her coaxing in the dark next to him - What was your favorite part of the day? - to which he'd always say, because he always thought it - now, touching you. He'd feel the lump of truth form in his throat, the swell of love in his loins. And afterward, the peace of her rhythmic breathing, steady as a Frisian clock, her simple uncomposed lullaby. Those are things he would, in some final, stretched-out moment, relive. How love builds itself unconsciously, he thought, out of the momentous ordinary.”
The desires of a young girl with her life ahead of her:
“Wishes had the power to knock the breath out of her. Some were large and throbbing and persistent, some mere pinpricks of golden light, short-lived as fireflies but keenly felt.”
In this work Vreeland urges me to give more of my life to beauty, to my loved ones, to quiet reflection, and to really noticing and savoring the people and the environment around me--reminders I can always use.
While these stories stand alone, assembled as a whole they convey the timelessness of this painting as a work of art juxtaposed to the finite periods that it is held by its admirers. And I am reminded that life is a journey of discovery.
Vreeland deftly and quickly captures her characters and their relationships. Despite their brief appearances I feel like I know them and can relate to them.
A loving middle-aged couple, so tender and caring with each other:
“The winsome lilt of Digna humming in the garden. Her knowing, almost teasing look, not quite a smile, when she knew she had the upper hand about something, and his willing acquiescence. Her coaxing in the dark next to him - What was your favorite part of the day? - to which he'd always say, because he always thought it - now, touching you. He'd feel the lump of truth form in his throat, the swell of love in his loins. And afterward, the peace of her rhythmic breathing, steady as a Frisian clock, her simple uncomposed lullaby. Those are things he would, in some final, stretched-out moment, relive. How love builds itself unconsciously, he thought, out of the momentous ordinary.”
The desires of a young girl with her life ahead of her:
“Wishes had the power to knock the breath out of her. Some were large and throbbing and persistent, some mere pinpricks of golden light, short-lived as fireflies but keenly felt.”
In this work Vreeland urges me to give more of my life to beauty, to my loved ones, to quiet reflection, and to really noticing and savoring the people and the environment around me--reminders I can always use.
While these stories stand alone, assembled as a whole they convey the timelessness of this painting as a work of art juxtaposed to the finite periods that it is held by its admirers. And I am reminded that life is a journey of discovery.
January 7, 2019
This is a story of a Vermeer painting, beginning with it's present owner and tracing back through about five owners and finally to the artist while painting the picture.
This was a great read. very original and interesting. I loved the strong characters in this little book, I've read it at least twice.
The prose was well written and flowed beautifully from story to story. Just a wonderful book.
Recommend for all fans of beautifully written historical fiction
This was a great read. very original and interesting. I loved the strong characters in this little book, I've read it at least twice.
The prose was well written and flowed beautifully from story to story. Just a wonderful book.
Recommend for all fans of beautifully written historical fiction
September 5, 2022
This book interested me as I will be seeing Vermeer’s paintings in person in the next couple of weeks. An interesting premise to follow the painting from present day to its conception, spending time with each owner and seeing it move on, whether it be because of financial need or something more nefarious.
What each owner had in common was a love for this piece. For each of them it brought beauty into their lives. It was a source of happiness where there might have been none.
My only complaint is that each story left me wanting more. These are interlinked short stories. The link is The Girl in Hyacinth Blue, a fictional painting by Vermeer.
Published: 1999
What each owner had in common was a love for this piece. For each of them it brought beauty into their lives. It was a source of happiness where there might have been none.
My only complaint is that each story left me wanting more. These are interlinked short stories. The link is The Girl in Hyacinth Blue, a fictional painting by Vermeer.
Published: 1999
Read
October 14, 2013This entry will be out of the ordinary. I wrote GIRL IN HYACINTH BLUE,and somehow it appeared in the wrong place on Goodreads. I can't seem to remove it, so I might as well supply a review.
NEW YORK TIMES
December 19, 1999
Picture This: A novel of a haunting painting and its effect on a succession of owners over three centuries.
Girl in Hyacinth Blue, by Susan Vreeland
by Katy Emck
Susan Vreeland's second novel, "Girl in Hyacinth Blue," may be a book about a painting, but it is never content with surfaces. Tracing the influence of one extraordinary picture on a succession of human lives, it touches gently yet thoughtfully on such weighty topics as the immortality of a great artwork and the ways in which art can be used for various ends. In the course of her explorations, Vreeland covers a lot of time and space: "Girl in Hyacinth Blue" begins in present-day America and ends in the 17th century Netherlands, scrolling backward as each chapter accounts for the painting's role in the life of one of its owners.
Among other things, Vreeland has given us an art detective story, since the early chapters suggest that this marvelous painting--a portrait of a young girl whose face seems to be filled with dreams and longings--may be a lost Vermeer. When we first encounter it, the picture is hidden from view, its possession the dark secret of a lonely mathematician whose father looted it from a Dutch Jewish family that he then sent to die in a concentration camp. Horrified by his father's crimes, he worships the painting with obsessional fervor, fearing that if anyone sees it, the secret of its provenance will come to light. But, as is the way with such things, he also feels compelled to show off his trophy.
The chapter that displays the mathematician's solitary, guilt-filled pleasure is followed by another that provides a lively view of the close-knit Jewish family from whom the painting was stolen--and particularly of the young daughter who identifies with its subject, a girl just about her own age. This sequence establishes the pattern for the book's structure: each chapter stands on its own, a marvel of economy, yet also builds on the knowledge the reader has already gained.
Vreeland is especially good at conveying the tensions that arise among her characters but go largely unspoken. She is also adept at capturing the differing sensibilities of various historical periods, working unobtrusively and successfully avoiding a contrived "period" feel. In the process, she provides her own nicely sketched gallery of portraits: a frivolous Frenchwoman marooned in a loveless marriage in the 19th-century Netherlands; an 18th-century farmer's wife hungering for beauty in the midst of the flat Dutch countryside; and an Enlightenment scientist who embarks on an affair with a superstitious serving girl.
In all these episodes, the painting is pivotal, both in a practical and a spiritual sense. The aristocratic Frenchwoman hates all things Dutch except the girl in the painting because she recognizes in her a sense of hope that she herself has lost. The farmer's wife loves the same girl because she symbolizes a serene loveliness that is unattainable for people who labor in the fields. In the end, each woman is forced to sell the painting so that each, in her own very different way, can survive. But for each of them, the possession of "Girl in Hyacinth Blue" leads to profound changes.
This conflict of the spiritual and the practical comes to dominate the final chapters of the novel in which the exigencies of the painter's life are movingly brought to the fore. Like many of its predecessors, the penultimate chapter is filled with a sense of tenderness, of gratitude for the gift of life--a mood that doesn't cloy because it is accompanied by a clear evocation of the daily stresses of loving and living. But the crowning chapter is the final one, which introduces the girl in the picture and provides a glimpse of what is actually going on behind those dreamy eyes.
Throughout "Girl in Hyacinth Blue," Vreeland strikes a pleasant balance between the timeless world of the painting as a work of art and the finite worlds of its possessors and admirers--not to mention the world of its subject and its creator. Intelligent, searching and unusual, the novel is filled with luminous moments; like the painting it describes so well, it has a way of lingering in the reader's mind.
Katy Emck is a freelance reviewer based in London.
NEW YORK TIMES
December 19, 1999
Picture This: A novel of a haunting painting and its effect on a succession of owners over three centuries.
Girl in Hyacinth Blue, by Susan Vreeland
by Katy Emck
Susan Vreeland's second novel, "Girl in Hyacinth Blue," may be a book about a painting, but it is never content with surfaces. Tracing the influence of one extraordinary picture on a succession of human lives, it touches gently yet thoughtfully on such weighty topics as the immortality of a great artwork and the ways in which art can be used for various ends. In the course of her explorations, Vreeland covers a lot of time and space: "Girl in Hyacinth Blue" begins in present-day America and ends in the 17th century Netherlands, scrolling backward as each chapter accounts for the painting's role in the life of one of its owners.
Among other things, Vreeland has given us an art detective story, since the early chapters suggest that this marvelous painting--a portrait of a young girl whose face seems to be filled with dreams and longings--may be a lost Vermeer. When we first encounter it, the picture is hidden from view, its possession the dark secret of a lonely mathematician whose father looted it from a Dutch Jewish family that he then sent to die in a concentration camp. Horrified by his father's crimes, he worships the painting with obsessional fervor, fearing that if anyone sees it, the secret of its provenance will come to light. But, as is the way with such things, he also feels compelled to show off his trophy.
The chapter that displays the mathematician's solitary, guilt-filled pleasure is followed by another that provides a lively view of the close-knit Jewish family from whom the painting was stolen--and particularly of the young daughter who identifies with its subject, a girl just about her own age. This sequence establishes the pattern for the book's structure: each chapter stands on its own, a marvel of economy, yet also builds on the knowledge the reader has already gained.
Vreeland is especially good at conveying the tensions that arise among her characters but go largely unspoken. She is also adept at capturing the differing sensibilities of various historical periods, working unobtrusively and successfully avoiding a contrived "period" feel. In the process, she provides her own nicely sketched gallery of portraits: a frivolous Frenchwoman marooned in a loveless marriage in the 19th-century Netherlands; an 18th-century farmer's wife hungering for beauty in the midst of the flat Dutch countryside; and an Enlightenment scientist who embarks on an affair with a superstitious serving girl.
In all these episodes, the painting is pivotal, both in a practical and a spiritual sense. The aristocratic Frenchwoman hates all things Dutch except the girl in the painting because she recognizes in her a sense of hope that she herself has lost. The farmer's wife loves the same girl because she symbolizes a serene loveliness that is unattainable for people who labor in the fields. In the end, each woman is forced to sell the painting so that each, in her own very different way, can survive. But for each of them, the possession of "Girl in Hyacinth Blue" leads to profound changes.
This conflict of the spiritual and the practical comes to dominate the final chapters of the novel in which the exigencies of the painter's life are movingly brought to the fore. Like many of its predecessors, the penultimate chapter is filled with a sense of tenderness, of gratitude for the gift of life--a mood that doesn't cloy because it is accompanied by a clear evocation of the daily stresses of loving and living. But the crowning chapter is the final one, which introduces the girl in the picture and provides a glimpse of what is actually going on behind those dreamy eyes.
Throughout "Girl in Hyacinth Blue," Vreeland strikes a pleasant balance between the timeless world of the painting as a work of art and the finite worlds of its possessors and admirers--not to mention the world of its subject and its creator. Intelligent, searching and unusual, the novel is filled with luminous moments; like the painting it describes so well, it has a way of lingering in the reader's mind.
Katy Emck is a freelance reviewer based in London.
July 26, 2012
Just arrived from Italy, kindly sent by Hayes, through BM.
This book is a collection of 8 short stories describing the story of Vermeer, the famous 17th century Dutch painter. A splendid and delightful book.
1. Love enough
2. Night different from all other nights
3. Adagia
4. Hyacinth blues
Girl in Hyacinth Blue
5. Morningshine --
6. From the personal papers of Adriaan Kuypers --
7. Still life --
The Little Street
The View of Delft
Girl Reading a Letter by an open window
The Milkmaid
Christ in the House of Mary and Martha
8. Magdalena looking.
Some interesting links about Vermeer:
Johannes Vermeer - The Art, Paintings and Life of Jan Vermeer "Van Delft"
Johannes Vermeer’s influence and inspiration
Essential Vermeer
Johannes Vermeer, a review by Mark Haden
This book is a collection of 8 short stories describing the story of Vermeer, the famous 17th century Dutch painter. A splendid and delightful book.
1. Love enough
2. Night different from all other nights
3. Adagia
4. Hyacinth blues
Girl in Hyacinth Blue
5. Morningshine --
6. From the personal papers of Adriaan Kuypers --
7. Still life --
The Little Street
The View of Delft
Girl Reading a Letter by an open window
The Milkmaid
Christ in the House of Mary and Martha
8. Magdalena looking.
Some interesting links about Vermeer:
Johannes Vermeer - The Art, Paintings and Life of Jan Vermeer "Van Delft"
Johannes Vermeer’s influence and inspiration
Essential Vermeer
Johannes Vermeer, a review by Mark Haden
August 5, 2007
Girl in Hyacinth Blue tells the story of a painting by the Dutch painter Vermeer, as it passes from one owner to another. Interestingly, the story is told in reverse chronological order, beginning with the math teacher who, at present time, hides the painting in his home, to the girl in the painting and her wishes to become an artist herself. I thought the book kept getting better and better as it travels back in history to reveal the effects the painting had on each owner. They all find some connection between it and their own lives, though the reasons for the connections vary drastically. However, the act of giving up the painting is difficult for all; they struggle with it but know that selling/giving away the painting must be done out of necessity.
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February 24, 2018
I bought this book around 2008 to 2010. I just stored it in my box of books and never even bother to read it. Then I found this while I was sorting box recently. I never expected that I was deeply engrossed in the stories most especially Morningshine, From the Personal Papers of Adriaan Kuypers and Still Life. This is one of those books that is a page-turner and you'll still definitely love to read after several years have passed.
February 9, 2016
A previously "undiscovered" Vermeer is revealed and the author traces its ownership back in time to its origination. Each owner (or custodian) has a slightly different reason for wanting to keep the painting, and different reasons for letting it go. Each time it changes hands, the owner is pained to part with it. And still, for everyone it represents longing and wishes unfulfilled.
November 6, 2021
Brush with Fate
«Erasmo dice che, dopo aver liberato gli ateniesi dalla crudeltà dei Trenta tiranni, Trasibulo emanò un decreto che proibiva al popolo qualsiasi riferimento al passato. Il decreto fu chiamato amnestia.»
Nel 1669, Vermeer dipinge la Merlettaia, un olio su tela di 23,9 x 20,5 centimetri. Più piccolo di un A4...
Qualche anno dopo, è forse sempre Johannes Van der Meer che dipinge Girl in Hyacinth Blue? È forse lo sguardo della figlia Magdalena, quello che Johannes avrà ritratto, dipingendo la fanciulla assorta nella contemplazione, il lavoro di cucito abbandonato sul tavolo? È forse...
Sia come sia, questo dipinto attraverserà quattro secoli, passando di mano in mano, come fosse il pacchetto dei sei gradi di separazione di Milgram.
Scopriremo così il dipinto ai giorni nostri, a Philadelphia, nelle mani del figlio di un ufficiale delle SS, che si era impossessato del quadro, sottraendolo di nascosto dalla casa di una famiglia ebrea, durante il Rastrellamento del 3 settembre 1942, ad Amsterdam.
E proseguendo in questo strano viaggio a ritroso nel tempo, tra una passeggiata sulla Promenade de Longchamp e l’ascolto del mozartiano Quartetto delle Dissonanze, ritroveremo il dipinto all’Aja, ai primi dell’Ottocento, a casa di una facoltosa famiglia olandese.
E poi ancora a Oling, nel 1717, durante la disastrosa inondazione di San Nicola, a casa di una famiglia di poveri agricoltori.
E infine nella maestosa casa di mattoni di Pieter Claesz Van Ruijven, sul canale Oude Delft, dove Vermeer...
Naturalmente, il personaggio principale del racconto sembrerebbe essere il quadro, ma la Vreeland, in tutti gli ‘episodi’, trova il modo di raccontare le tante Hannah, Digna, Claudine, Magadalena, Aletta, Saskia, donne la cui libertà è limitata da convenzioni sociali e religiose, che le privano del controllo sulle loro vite e sulla vita dei loro figli.
In memoria di Frozan Safi.
«Erasmo dice che, dopo aver liberato gli ateniesi dalla crudeltà dei Trenta tiranni, Trasibulo emanò un decreto che proibiva al popolo qualsiasi riferimento al passato. Il decreto fu chiamato amnestia.»
Nel 1669, Vermeer dipinge la Merlettaia, un olio su tela di 23,9 x 20,5 centimetri. Più piccolo di un A4...
Qualche anno dopo, è forse sempre Johannes Van der Meer che dipinge Girl in Hyacinth Blue? È forse lo sguardo della figlia Magdalena, quello che Johannes avrà ritratto, dipingendo la fanciulla assorta nella contemplazione, il lavoro di cucito abbandonato sul tavolo? È forse...
Sia come sia, questo dipinto attraverserà quattro secoli, passando di mano in mano, come fosse il pacchetto dei sei gradi di separazione di Milgram.
Scopriremo così il dipinto ai giorni nostri, a Philadelphia, nelle mani del figlio di un ufficiale delle SS, che si era impossessato del quadro, sottraendolo di nascosto dalla casa di una famiglia ebrea, durante il Rastrellamento del 3 settembre 1942, ad Amsterdam.
E proseguendo in questo strano viaggio a ritroso nel tempo, tra una passeggiata sulla Promenade de Longchamp e l’ascolto del mozartiano Quartetto delle Dissonanze, ritroveremo il dipinto all’Aja, ai primi dell’Ottocento, a casa di una facoltosa famiglia olandese.
E poi ancora a Oling, nel 1717, durante la disastrosa inondazione di San Nicola, a casa di una famiglia di poveri agricoltori.
E infine nella maestosa casa di mattoni di Pieter Claesz Van Ruijven, sul canale Oude Delft, dove Vermeer...
Naturalmente, il personaggio principale del racconto sembrerebbe essere il quadro, ma la Vreeland, in tutti gli ‘episodi’, trova il modo di raccontare le tante Hannah, Digna, Claudine, Magadalena, Aletta, Saskia, donne la cui libertà è limitata da convenzioni sociali e religiose, che le privano del controllo sulle loro vite e sulla vita dei loro figli.
In memoria di Frozan Safi.
May 19, 2024
“A newly discovered Vermeer – it would rock the art world.”
Indeed it would.
GIRL IN HYACINTH BLUE is the poignant and compelling tale of the provenance of a fictional undiscovered Vermeer that the current owner, for reasons of his own, is unwilling to disclose to the art world or present to experts for validation. Eight short stories, linked to one another through the painting, trace its life backwards in time from the present owner, through Holland under Nazi occupation in World War II all the way back to the 17th century when a financially challenged Vermeer sought to put brush and his own ground colours to canvas in the creation of a painting of … well, you’re just going to have to read the stories for yourself!
GIRL IN HYACINTH BLUE is entertaining, informative and as easy to read and comfortably sink yourself into as looking at your favourite Vermeer painting and allowing his trademark treatment of light streaming through the ever present upper left window to wash over you. Full disclosure … Vermeer is definitely my favourite classical artist so I’ll admit that made the novel even more enjoyable. What a wonderful treat the art world might have if a new Vermeer were discovered.
Paul Weiss
Indeed it would.
GIRL IN HYACINTH BLUE is the poignant and compelling tale of the provenance of a fictional undiscovered Vermeer that the current owner, for reasons of his own, is unwilling to disclose to the art world or present to experts for validation. Eight short stories, linked to one another through the painting, trace its life backwards in time from the present owner, through Holland under Nazi occupation in World War II all the way back to the 17th century when a financially challenged Vermeer sought to put brush and his own ground colours to canvas in the creation of a painting of … well, you’re just going to have to read the stories for yourself!
GIRL IN HYACINTH BLUE is entertaining, informative and as easy to read and comfortably sink yourself into as looking at your favourite Vermeer painting and allowing his trademark treatment of light streaming through the ever present upper left window to wash over you. Full disclosure … Vermeer is definitely my favourite classical artist so I’ll admit that made the novel even more enjoyable. What a wonderful treat the art world might have if a new Vermeer were discovered.
Paul Weiss
April 17, 2019
This book has been on my shelf for years, so I randomly picked it up with low expectations, looking for something calm, easy and historical, and was immediately drawn in to author Susan Vreeland’s imaginary tale of a 17th century Dutch painting, assumed to be the work of master Johannes Vermeer, and its journey through the centuries. ‘Girl In Hyacinth Blue’ is a series of tightly interwoven short stories that make a complete novel. Each story is its own time capsule, taking us backward through eight owners’ personal histories and emotional ties to the painting, and each story becomes a bit more compelling as we near the creation of the painting itself. Along the way, a mystery develops about the parentage of a swaddled newborn left inside a skiff with the painting and a cryptic, hand-scrawled message: “Sell the painting. Feed the child.” The resolution of this mystery was perfect.
An entertaining escapist read with beautifully written characters and Netherlands landscapes and heartily recommended to anyone who liked ‘Girl With A Pearl Earring’ or who appreciates stories about the timeless, personal power of art.
“Now it became clear to her what made her love the girl in the painting. It was her quietness. A painting, after all, can’t speak. Yet she felt this girl, sitting inside a room but looking out, was probably quiet by nature, like she was. But that didn’t mean the girl didn’t want anything . . . Her face told her she probably wanted something so deep or so remote that she never dared breathe it but was thinking about it there by the window.” ~ Hannah Vredenburg
An entertaining escapist read with beautifully written characters and Netherlands landscapes and heartily recommended to anyone who liked ‘Girl With A Pearl Earring’ or who appreciates stories about the timeless, personal power of art.
“Now it became clear to her what made her love the girl in the painting. It was her quietness. A painting, after all, can’t speak. Yet she felt this girl, sitting inside a room but looking out, was probably quiet by nature, like she was. But that didn’t mean the girl didn’t want anything . . . Her face told her she probably wanted something so deep or so remote that she never dared breathe it but was thinking about it there by the window.” ~ Hannah Vredenburg
March 5, 2019
Susan Vreeland loved to write historical fiction about art. I LOVE to read historical fiction about art. What a match!!
I did not know what to expect from this book with stories written about a fictional Dutch painting from the 1600's. A very pleasant surprise indeed.
The story starts in the present day where a professor swears he has a Vermeer. No provenance that proves it. He just KNOWS!!
The rest of the chapters describe where the painting has been and its origin. I LOVED this story telling. And Vreeland's writing style as well.
Vreeland passed away in 2017. Luckily for me she left behind at least 7 novels marrying historical fiction with a painting.
Next up - Luncheon of the Boating Party. Stay tuned!!
5 stars
I did not know what to expect from this book with stories written about a fictional Dutch painting from the 1600's. A very pleasant surprise indeed.
The story starts in the present day where a professor swears he has a Vermeer. No provenance that proves it. He just KNOWS!!
The rest of the chapters describe where the painting has been and its origin. I LOVED this story telling. And Vreeland's writing style as well.
Vreeland passed away in 2017. Luckily for me she left behind at least 7 novels marrying historical fiction with a painting.
Next up - Luncheon of the Boating Party. Stay tuned!!
5 stars
September 10, 2018
Una serie di racconti che hanno come filo conduttore il possesso di un quadro forse dipinto da Vermeer, La ragazza in blu, ordinati in senso cronologico dal più moderno al più antico, tutti, tranne il primo, ambientati nei Paesi Bassi.
All'inizio non mi stava proprio colpendo, ho trovato i due primi racconti, quelli ambientati nel Novecento, prevedibili e noiosi. Mi sono detta "Se i racconti sono tutti così sarà una faticaccia finirlo, per fortuna il libro è breve".
Invece, per fortuna, il libro era in crescendo. Il terzo e il quarto racconto mi sono piaciuti di più. Ma il meglio era alla fine: gli ultimi quattro racconti mi sono piaciuti molto, in particolare i due ambientati durante la grande inondazione del 1717.
Il voto effettivo sarebbe più 3.5 ma visto che i racconti erano in crescendo, la Vreeland si porta a casa 4 stelline e io farò finta di non aver letto i primi due racconti.
All'inizio non mi stava proprio colpendo, ho trovato i due primi racconti, quelli ambientati nel Novecento, prevedibili e noiosi. Mi sono detta "Se i racconti sono tutti così sarà una faticaccia finirlo, per fortuna il libro è breve".
Invece, per fortuna, il libro era in crescendo. Il terzo e il quarto racconto mi sono piaciuti di più. Ma il meglio era alla fine: gli ultimi quattro racconti mi sono piaciuti molto, in particolare i due ambientati durante la grande inondazione del 1717.
Il voto effettivo sarebbe più 3.5 ma visto che i racconti erano in crescendo, la Vreeland si porta a casa 4 stelline e io farò finta di non aver letto i primi due racconti.
February 10, 2019
This is a delightful story telling the journey of a painting presumably painted by the Dutch master Vermeer. It tells it's journey in reverse starting with it's present day owner who is a Math professor in Philadelphia and working it's way back to it's origins in The Netherlands where the daughter of the painter must relinquish her hold on it when her circumstances are dire.
We learn the stories of each person or family who has acquired the painting, their attachment to it and eventually how or why they part with it. The painting has a special hold over each of it's owners.
In between hearing about the painting and it's many owners one is also made aware of the current events of the time.
This is my second reading of this book and I enjoyed it as much as the first time. Definitely worth reading.
We learn the stories of each person or family who has acquired the painting, their attachment to it and eventually how or why they part with it. The painting has a special hold over each of it's owners.
In between hearing about the painting and it's many owners one is also made aware of the current events of the time.
This is my second reading of this book and I enjoyed it as much as the first time. Definitely worth reading.
June 1, 2008
Am I the only one that found this book disappointing? This book traces the owners of a Vermeer painting backwards through time. The result is quite choppy, more like a set of short stories than a novel. I actually had a difficult time caring about the first several owners. Maybe I was tired, but I also had a difficult time tracing the painting's transfer of ownership until it came to the last few. I did enjoy the last several chapters more, but by then I felt it was too late.
In some ways, this seemed a typical "form over function" book. I think the author was pleased with the idea of tracing a painting backwards through time and was so tied to the idea, she couldn't recognize that the not-so-great result.
In some ways, this seemed a typical "form over function" book. I think the author was pleased with the idea of tracing a painting backwards through time and was so tied to the idea, she couldn't recognize that the not-so-great result.
February 5, 2021
The painting is the star of this lovely book, a series of stories tracing the provenance of a fictional Vermeer. ( Oh, how I wish it were real!) I liked this book very much, not so much as Donna Tartt's Goldfinch or Tracy Chevalier's exquisite Girl with a Pearl Earring. Perhaps it's because I prefer longer novels to novellas and short stories, but I wanted so much to know more of each of the caretakers of the painting after it left his or her keeping.
It's beautifully written richly depicting a range of emotionally-laden, usually sad and/or tragic, circumstances with a disciplined restraint. I will certainly read more by this author as I enjoy books about art almost as much as books about books.
It's beautifully written richly depicting a range of emotionally-laden, usually sad and/or tragic, circumstances with a disciplined restraint. I will certainly read more by this author as I enjoy books about art almost as much as books about books.
January 9, 2008
I really enjoyed this book. I've owned it for seven or eight years now, and I reread it every six months or so. It's a beautifully written series of brief chapter-sized vignettes recounting the history of a Vermeer painting, as told (in reverse chronological order) by all the people who have possessed the painting. The final stor(ies) are told by the painting's model, Vermeer's daughter. Each chapter also deals with the decision of each character to give up the painting for various reasons.
Couple reading this with Girl with a Pearl Earring, which is also about a Vermeer painting. It's an interesting pair.
Couple reading this with Girl with a Pearl Earring, which is also about a Vermeer painting. It's an interesting pair.
August 17, 2012
Great read! Vreeland writes several short stories of a lost Vermeer painting and the people whose lives it touched. The stories are told from the present to long ago, back in time. This lost painting is a portrait of a young woman looking out a window, lost in thought, brilliantly clothed in hyacinth blues. The stories contain exquisite visual descriptions of his artwork and the everyday lives of ordinary women. I loved how Vreeland described color and how his paintings contained the "dust of crushed pearls." I also like how a glimpse into each family's lives makes them real and endearing to us.
February 4, 2021
This book details the provenance of a Vermeer painting as it travels through myriad hands over centuries. In nicely metered prose, Vreeland chronicles each of the major transfers of ownership from diverse angles. One vignette would feature the artist himself, another the subject who sat for the painting, another a trade that moved the work outside of the country, and so on.
Art history lovers will be delighted with descriptions of painting techniques and nuances, and historical fiction buffs will be equally pleased with the carefully curated montages of life over time.
Art history lovers will be delighted with descriptions of painting techniques and nuances, and historical fiction buffs will be equally pleased with the carefully curated montages of life over time.
February 21, 2018
The Girl in Hyacinth Blue, by Susan Vreeland, was a well-written, thought provoking and inspiring book; but to tell you the truth, I probably would not have finished it if it weren’t for the fact that I was in a book club that keeps me accountable. It’s the perfect example of why I’m in this book club in the first place: to keep me reading things that challenge me a bit, rather than always the easy, thrilling Dan Brown or JK Rowling types.
I liked Girl in Hyacinth Blue, not only because it portrays the impact of a single piece of forgotten art in the lives of dramatically different people over several centures; but also for its treatment of the figure in the painting itself: the “girl in hyacinth blue” was the daughter of the Dutch painter Vermeer, and she wondered what people would feel when they looked on her father’s painting, reflecting to herself that “they will never know me.” You can hear her struggling with the question of her worth as a woman, a mere daughter of a then-struggling artist who never himself had time to notice his daughter, except when he studied her academically for her portrait.
I feel affinity for this girl because the very element that drew admiration and other passionate feelings for the painting was her expression of deep longing. This longing is a recurring theme in my own art and writing, as it is in so much of the art that is already out there. My question, like hers, and like Vermeer’s no doubt was, has always been, Does the world need another painting? Another novel? Another voice like mine? Might someone out there be moved by my outpouring of my own unfinished heart?
Vreeland’s novel attempts to prove that life would be unlivable without the inspiration and beauty of art. And as not everyone appreciates even a Vermeer painting, its worth centuries later is undeniable; so also each work of art, each individual life like mine, has a purpose that will impact generations to come, even if “they will never know me.”
I liked Girl in Hyacinth Blue, not only because it portrays the impact of a single piece of forgotten art in the lives of dramatically different people over several centures; but also for its treatment of the figure in the painting itself: the “girl in hyacinth blue” was the daughter of the Dutch painter Vermeer, and she wondered what people would feel when they looked on her father’s painting, reflecting to herself that “they will never know me.” You can hear her struggling with the question of her worth as a woman, a mere daughter of a then-struggling artist who never himself had time to notice his daughter, except when he studied her academically for her portrait.
I feel affinity for this girl because the very element that drew admiration and other passionate feelings for the painting was her expression of deep longing. This longing is a recurring theme in my own art and writing, as it is in so much of the art that is already out there. My question, like hers, and like Vermeer’s no doubt was, has always been, Does the world need another painting? Another novel? Another voice like mine? Might someone out there be moved by my outpouring of my own unfinished heart?
Vreeland’s novel attempts to prove that life would be unlivable without the inspiration and beauty of art. And as not everyone appreciates even a Vermeer painting, its worth centuries later is undeniable; so also each work of art, each individual life like mine, has a purpose that will impact generations to come, even if “they will never know me.”
July 26, 2013
I recently read Girl with a Pearl Earring because I'm going to go see it at the High Museum in Atlanta, and another GoodReads friend turned me on to this book. Most of the chapters of this book were previously published individually, all telling bits of a story of another Vermeer painting. I loved how there was so much mystery to the painting, so many stories surrounding it, even if they were fiction, still an enjoyable read. Her descriptions of the landscape are also very vivid.
Little bits I marked:
"Now it became clear to her what made her love the girl in the painting. It was her quietness.... But that didn't mean that the girl didn't want anything, like Mother said about her. Her face told her she probably wanted something so deep or so remote that she never dared breathe it but was thinking about it there by the window. And not only wanted. She was capable of doing some great wild loving thing."
"Love builds itself unconsciously, out of the momentous ordinary."
Little bits I marked:
"Now it became clear to her what made her love the girl in the painting. It was her quietness.... But that didn't mean that the girl didn't want anything, like Mother said about her. Her face told her she probably wanted something so deep or so remote that she never dared breathe it but was thinking about it there by the window. And not only wanted. She was capable of doing some great wild loving thing."
"Love builds itself unconsciously, out of the momentous ordinary."
July 17, 2008
I like the way this author writes. This is one of those books where an object is the main character, rather than a person. In this case, the object is a (fictional) Vermeer painting of a girl sitting and looking out the window with her sewing in her lap.
There are eight interconnected stories that follow the painting back through history to its various owners and how they came to own or sell the painting. Eventually it works back to Vermeer's creation of the painting.
My only complaint is that I wish some of the stories would have had more depth. A couple of them end just as you're getting attached to the characters and interested in what will happen next.
I especially liked the story From the Personal Papers of Adriaan Kuypers. Sad,(I cried at the end of it), but well told and a little more fleshed out than some of the others.
I think it says something for the author that by the end of the book I felt like I could actually see the painting with all its colors and light play.
There are eight interconnected stories that follow the painting back through history to its various owners and how they came to own or sell the painting. Eventually it works back to Vermeer's creation of the painting.
My only complaint is that I wish some of the stories would have had more depth. A couple of them end just as you're getting attached to the characters and interested in what will happen next.
I especially liked the story From the Personal Papers of Adriaan Kuypers. Sad,(I cried at the end of it), but well told and a little more fleshed out than some of the others.
I think it says something for the author that by the end of the book I felt like I could actually see the painting with all its colors and light play.
July 15, 2009
This is one of the better novels inspired by the paintings of Vermeer. I say that because I've recently read 4 of them:
Tracey Chevalier's Girl with a Pearl Earring was undoubtedly the best of them, with a solid plotline, populated by recognisable characters and was sophisticated enough to involve thematic imagery.
This is followed by Susan Vreeland's Girl in Hyacinth Blue. The writing is good in this but the book is not so much a novel but a series of short stories that are linked by one Vermeer painting, a fictional provenance. The characters and their stories are compelling.
There is a big quality gap before we come to Deborah Moggach's Tulip Fever. The plot is actually quite original with an unpredictable twist. Sadly the characters insipid and unlikeable, not to mention unbelievable. Read only if you must.
Katharine Weber's The Music Lesson is undoubatedly the worst. Half the book is spent moping around the Irish countryside. Nothing happens and the author is unfortunately not talented enough to make nothing work (unlike say, James Kellner who does exactly that in How Late It Was How Late). The main character is shallow and pathetic. This made it difficult to be convinced about her motives when it comes to the theft of a Vermeer. No matter how much you love Vermeer (or reading), don't waste your time on this one.
I have more detailed reviews under each of these books.
I wonder if there are any more Vermeer-related novels out there. It's a good thing painters are still judged by their paintings.
Tracey Chevalier's Girl with a Pearl Earring was undoubtedly the best of them, with a solid plotline, populated by recognisable characters and was sophisticated enough to involve thematic imagery.
This is followed by Susan Vreeland's Girl in Hyacinth Blue. The writing is good in this but the book is not so much a novel but a series of short stories that are linked by one Vermeer painting, a fictional provenance. The characters and their stories are compelling.
There is a big quality gap before we come to Deborah Moggach's Tulip Fever. The plot is actually quite original with an unpredictable twist. Sadly the characters insipid and unlikeable, not to mention unbelievable. Read only if you must.
Katharine Weber's The Music Lesson is undoubatedly the worst. Half the book is spent moping around the Irish countryside. Nothing happens and the author is unfortunately not talented enough to make nothing work (unlike say, James Kellner who does exactly that in How Late It Was How Late). The main character is shallow and pathetic. This made it difficult to be convinced about her motives when it comes to the theft of a Vermeer. No matter how much you love Vermeer (or reading), don't waste your time on this one.
I have more detailed reviews under each of these books.
I wonder if there are any more Vermeer-related novels out there. It's a good thing painters are still judged by their paintings.
June 28, 2017
Excellent book...
I picked this little book up at a 'nature' site on Cape Cod, a location where there are gardens and flowers for sale, and a little house where home-made jams and jellies are made. I visit every year and buy hand-made bars of soap, visit the bees in the bee hive, maybe buy a funny fake snake or two. This year they had a few used books for sale and the title of this book...I couldn't resist!
It's the story of a painting, and its 'provenance' back through time. Who owned it, when and how they came to buy/procure/obtain/steal it. How the owners felt about it - how the painting made them feel, along with some 'back story,' often evocative, sometimes tragic, about those owners.
This is a richly imaginative, uniquely told story and I sat and read it through a day and a half. In a rocking chair in the sun, then the breeze, in the near-perfect climate (for this time of year) of Cape Cod. I could almost feel this girl - in the painting, supposedly by Dutch artist, Vermeer - as she gazes off, just thinking...
Just thinking. Just existing. No greater meaning sometime than saying merely that, just being.
Enjoyed it thoroughly.
I picked this little book up at a 'nature' site on Cape Cod, a location where there are gardens and flowers for sale, and a little house where home-made jams and jellies are made. I visit every year and buy hand-made bars of soap, visit the bees in the bee hive, maybe buy a funny fake snake or two. This year they had a few used books for sale and the title of this book...I couldn't resist!
It's the story of a painting, and its 'provenance' back through time. Who owned it, when and how they came to buy/procure/obtain/steal it. How the owners felt about it - how the painting made them feel, along with some 'back story,' often evocative, sometimes tragic, about those owners.
This is a richly imaginative, uniquely told story and I sat and read it through a day and a half. In a rocking chair in the sun, then the breeze, in the near-perfect climate (for this time of year) of Cape Cod. I could almost feel this girl - in the painting, supposedly by Dutch artist, Vermeer - as she gazes off, just thinking...
Just thinking. Just existing. No greater meaning sometime than saying merely that, just being.
Enjoyed it thoroughly.
January 29, 2019
I was impressed with Vreeland’s superb research and storytelling talents. This was a wonderful book that is not only an excellent work of historical fiction but also presents an intriguing mystery that makes for an enjoyable read.
December 14, 2023
This was simply wonderful. A series of stories from the modern day connected by a painting of a girl in hyacinth blue, likely a Vermeer, sequentially back through time, owner by owner, through the centuries to the day of its creation. The painting itself is the time traveler - along with the reader - surviving potential destruction by fire and flood. But it's also a journey of emotion and meaning demonstrating the power a great work of art can have over an individual, making them reluctant to part with it for any reason. Each story here had an individual with a deep emotional attachment to it, for whom the painting has a message and great meaning, and each and every single one had a completely different emotional tie, seeing something uniquely necessary to them, even precious.
Just a beautiful read and a book I will keep and treasure.
Just a beautiful read and a book I will keep and treasure.
February 6, 2024
Excellently done. Each chapter is a short story in itself, each a vignette in a period of the life of the painting, if you will. The power of each tale is quite impactful and moving. I learned a few things about what makes well-done paintings so revered, beyond simply the image portrayed. Highly recommend for a compelling and thoughtful read.
September 26, 2018
”Improvvisamente le apparve chiaro perché le piaceva tanto la ragazza del quadro. Perché taceva. Un quadro non può parlare. Eppure sentiva che la ragazza, seduta in una stanza ma con lo sguardo rivolto all'esterno, era probabilmente silenziosa di natura, proprio come lei. Ma questo non significava che non desiderasse nulla, come la madre diceva di lei. Il viso rivelava che desiderava qualcosa di così profondo o remoto che non osava esprimerlo, però ci pensava, seduta presso la finestra. E non si limitava a desiderare. Era capace anche di compiere grandi imprese, audaci, appassionate. Sì, era sicuramente così.”
•••
“Pensò ai personaggi dei dipinti che aveva visto all’asta, non soltanto quelli di suo padre, ma di tutti i quadri del mondo. Dei suoi modelli il pittore coglieva lo sguardo, la particolare inclinazione del capo, la solitudine, la sofferenza, il dolore e li trasmetteva a tanta gente che avrebbe continuato a vederli nel corso del tempo, senza mai incontrare faccia a faccia le persone ritratte sulla tela. Gente che l’avrebbe osservata da vicino, pensò, che l’avrebbe guardata intensamente, ma che di lei non avrebbe mai saputo nulla. “
In realtà il quadro qui sopra rappresentato non è propriamente quello di cui parla il libro della Vreeland; è un’opera originare dell’artista Jonathan Janson che, seguendo le “regole pittoriche” di Vermeer, ha prodotto un quadro nello stile del pittore di Delft. Il quadro è poi stato utilizzato nel film Brush with Fate del 2003, realizzato a partire dal questo libro. *
In questi racconti la Vreeland ci narra la storia di un oggetto, un quadro rappresentante una ragazza seduta vicino ad una finestra, ferma in un attimo di riposo, mentre guida il suo sguardo oltre i confini della casa. L’autrice ha creato il quadro nella propria mente partendo da vere opere di Vermeer, come Donna in blu che legge una lettera, La Merlettaia e La lattaia. Da questa idea è passata poi alla narrazione delle vicende dell’oggetto quadro.
Un professore di matematica, una famiglia ebrea, una contadina, la moglie di un negriero. Tante persone, tante vite che si incontrano con il destino del quadro. Quasi sempre sono le donne a sentire l’influsso di questo dipinto, e la Vreeland è bravissima a scavare nel loro intimo, a portare alla luce bellezza e miseria della vita delle donne nel passato, a partire da seicento. Come ne La passione di Artemisia l’incontro-scontro tra arte e mondo femminile è riuscito benissimo, dando a noi lettori l’opportunità di vedere nell’animo delle donne del passato, vedere le loro condizioni di vita, e nello stesso tempo scoprirne i lati belli, e meno belli, legati al mondo dell’arte.
Di nuovo un ottimo libro dalle mani della Vreeland, che, pur non essendo una storica dell’arte, è capace di immergersi nei cuori degli artisti più facilmente rispetto a chi è del mestiere (o forse proprio per questo). Un ottimo lavoro, visto che di solito le raccolte di racconti non mi fanno impazzire. Il filo rosso del quadro ha sicuramente aiutato. Consigliato!
*fun fact (o circolo vizioso?) = Il pittore ha dipinto il quadro “seguendo” le indicazioni della autrice, realizzando l’opera per il film. Per fare ciò, ha ricostruito la scena a Cinecittà, Roma, e poi ha dipinto. La scena è stata trasportata in Olanda solo per girare le ultime immagini del film. I fotografi hanno aiutato l’artista nella composizione, ricreando con le fotografie quello che Vermeer faceva con la camera oscura. Il dipinto è stato finito in otto settimane. Interessante, no?
•••
“Pensò ai personaggi dei dipinti che aveva visto all’asta, non soltanto quelli di suo padre, ma di tutti i quadri del mondo. Dei suoi modelli il pittore coglieva lo sguardo, la particolare inclinazione del capo, la solitudine, la sofferenza, il dolore e li trasmetteva a tanta gente che avrebbe continuato a vederli nel corso del tempo, senza mai incontrare faccia a faccia le persone ritratte sulla tela. Gente che l’avrebbe osservata da vicino, pensò, che l’avrebbe guardata intensamente, ma che di lei non avrebbe mai saputo nulla. “
In realtà il quadro qui sopra rappresentato non è propriamente quello di cui parla il libro della Vreeland; è un’opera originare dell’artista Jonathan Janson che, seguendo le “regole pittoriche” di Vermeer, ha prodotto un quadro nello stile del pittore di Delft. Il quadro è poi stato utilizzato nel film Brush with Fate del 2003, realizzato a partire dal questo libro. *
In questi racconti la Vreeland ci narra la storia di un oggetto, un quadro rappresentante una ragazza seduta vicino ad una finestra, ferma in un attimo di riposo, mentre guida il suo sguardo oltre i confini della casa. L’autrice ha creato il quadro nella propria mente partendo da vere opere di Vermeer, come Donna in blu che legge una lettera, La Merlettaia e La lattaia. Da questa idea è passata poi alla narrazione delle vicende dell’oggetto quadro.
Un professore di matematica, una famiglia ebrea, una contadina, la moglie di un negriero. Tante persone, tante vite che si incontrano con il destino del quadro. Quasi sempre sono le donne a sentire l’influsso di questo dipinto, e la Vreeland è bravissima a scavare nel loro intimo, a portare alla luce bellezza e miseria della vita delle donne nel passato, a partire da seicento. Come ne La passione di Artemisia l’incontro-scontro tra arte e mondo femminile è riuscito benissimo, dando a noi lettori l’opportunità di vedere nell’animo delle donne del passato, vedere le loro condizioni di vita, e nello stesso tempo scoprirne i lati belli, e meno belli, legati al mondo dell’arte.
Di nuovo un ottimo libro dalle mani della Vreeland, che, pur non essendo una storica dell’arte, è capace di immergersi nei cuori degli artisti più facilmente rispetto a chi è del mestiere (o forse proprio per questo). Un ottimo lavoro, visto che di solito le raccolte di racconti non mi fanno impazzire. Il filo rosso del quadro ha sicuramente aiutato. Consigliato!
*fun fact (o circolo vizioso?) = Il pittore ha dipinto il quadro “seguendo” le indicazioni della autrice, realizzando l’opera per il film. Per fare ciò, ha ricostruito la scena a Cinecittà, Roma, e poi ha dipinto. La scena è stata trasportata in Olanda solo per girare le ultime immagini del film. I fotografi hanno aiutato l’artista nella composizione, ricreando con le fotografie quello che Vermeer faceva con la camera oscura. Il dipinto è stato finito in otto settimane. Interessante, no?
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